In almost every movie, the most critical character is the Protagonist.
* Typically the story is told through their perspective.
* Their goal usually dictates the end point of the plot.
* All the other primary characters are somehow linked to the Protagonist.
* Normally they go through the most significant metamorphosis.
* And the Protagonist acts as the main conduit into the story for a script reader and moviegoer.
So guess what? You need to create a Protagonist that grabs a reader’s attention and keeps it for 100 pages.
Go beyond writing a ‘sympathetic’ Protagonist. Dig deeper than giving your Protagonist a ‘flaw.’ That is surface level writing. In this class, you will learn an approach that will help you immerse yourself into this key character, and craft a Protagonist worth writing… and reading.
This class not only explores proven ways to help you create a compelling character, it also lays out an approach you can use as the groundwork for developing the rest of your story.
Seven lectures, forum feedback, insider tips, 90-minute teleconference, and the opportunity to workshop your story’s Protagonist [or Protagonists].
Plus if you’re a fan of the movies Bridesmaids, The Social Network andUp, we’ll be using those as our study scripts. They offer a diverse set of Protagonists and yet the approach we will study next week shows how a writer can craft such compelling and different lead characters.
It all starts Monday, April 28. You can learn more and sign up here.
Here are some observations from writers who have taken the class with me:
“One week of Creating a Compelling Protagonist challenged me in ways I couldn’t challenge myself. If you want to develop your ideas, this is a rare opportunity at great value. Thank you, Scott!” – Brianna Garber
“I’ve taken a ton of classes, both inside and outside film school, and this was one of the best. The material provided a ton of inventive ways to approach the development of a solid, three-dimensional protagonist, and helped me dig deeper into the character’s internal world — forcing me to reject easy solutions, the first ideas that came to mind.” – Jason Young
“A class that is perfect for anyone looking to learn the primary character archetypes, their psychology, and how they relate to the protagonist. The lectures provide thorough examples of these character archetypes in modern and classic movies, and the online forums were a hotspot to ask questions about the material or anything related to screenwriting. Scott’s style of teaching is highly accessible to anyone, as he creates an environment of easy, open discussion on the subject of character and welcomes any other questions you may have along the way.” – Kristen Vincent, sold spec script “Fetch” in 2013.
This 1-week Craft course is coupled with another class: Write A Worthy Nemesis. That begins Monday, May 12. For information on that session, go here.
This is the only time I will be offering these Craft classes in 2014, so take this opportunity and sign up now!
I have been a big fan of screenwriter Michael Arndt ever since I read his script Little Miss Sunshine, then saw the movie. And, of course, there’s Toy Story 3 which Arndt penned. My admiration goes beyond his writing, it extends to how Arndt thinks about writing as clearly he has done a great deal of reflection about the craft. Fortunately for us, he has gone public with at least some of those thoughts. I have featured his ruminations multiple times through years including here, here, here, here, here, here, here, here, here, here, and here. So I was interested to see this recent blog post by John August referencing this video:
In his post, John wrote this:
When I saw this video, I immediately wondered what it was from. It’s clearly professionally made, so why is it on some random guy’s YouTube account?
I emailed Michael Arndt, who wrote back that it was originally a bonus feature on the Blu-ray for Toy Story 3. He gave me his blessing to link to it.
I’m aware the model I set up here applies imperfectly to TS3 itself. (It applies much more cleanly [for example] to TOOTSIE, which I consider one of the best comedy first acts of all time.) The broader point is that the emotional fuel for your first act break is largely set up in your inciting incident — and that is something that does apply to TS3.
Disney and/or Pixar own the copyright on the video, so they could pull it down. But I hope they won’t. This kind of lesson celebrates what’s made their films so successful, and deserves wider exposure.
Knowing the whims of the Internet gods, I forwarded the link to the video to my stalwart development assistant Wendy Cohen and she was kind enough to produce a transcript, so we would at least have Arndt’s words down in print in case the video got yanked.
While I encourage you to watch the video – which is great – I want to dig deeper into the content of what Arndt says. So I will divide his observations into two parts. The first part I posted here yesterday. Here is a transcript of the second half of the video:
So, you start with your main character, you have what they’re defined by, you have a hidden flaw, you establish storm clouds on the horizon, and then BA-BOOM! Something comes in and totally blows apart your hero’s life and turns it upside down. So in the case of “Toy Story,” Buzz arrives and Woody gets displaced. And in “Finding Nemo,” the barracuda shows up and Marlin’s family gets killed except this one last little egg. In “The Incredibles” Mr. Incredible saves this guy, but then he gets sued and superheroes get banned. And in each of these cases, if you go back and look at what their grand passion was: Woody being Andy’s favorite toy, Marlin and his family, Mr. Incredible being a superhero, that’s the thing that gets taken away from them. It totally changes your character’s sense of what his or her future’s gonna be. But that bolt from the blue isn’t enough on its own. It’s not enough just to ruin your character’s life and take away their grand passion and change their whole sense of what the future’s gonna be. You gotta add insult to injury. You gotta add something that’s gonna make the world seem a little bit unfair. So not only does Woody get replaced, but he gets replaced by this total doofus, this imbecile who doesn’t even know that he’s a toy and they get in this whole argument about whether Buzz can fly or not. And Buzz jumps and bounces and flies around the room, and all the other toys go “Oh my God, he really can fly.” And the key thing here is that everyone is impressed for the wrong reason. In the case of “Finding Nemo,” you don’t need to really add insult to injury. We already understand that the world Marlin lives in is unfair. But on the other hand, with “The Incredibles,” the reason superheroes get banned is because Mr. Incredible was trying to do the right thing.
So now, your main character’s life has changed, her grand passion has been taken away, the world has revealed itself to be unfair, and she comes to a fork in the road, and she’s gonna have to make a choice on how to deal with her new reality. There’s a high road to take: a healthy, responsible choice, or a low road to take and make an unhealthy irresponsible choice. And remember, if your character chooses to do the right thing, you really don’t have a story.
For Woody, the healthy choice is to say, “Look, I had my day in the sun. I was Andy’s favorite toy for a long time, and I have to cede the spotlight at a certain point.” But what happens is that Woody makes the unhealthy choice. Woody tries to push Buzz behind the desk. And the key thing here is that we’re rooting for Woody to do the unhealthy, irresponsible thing because we feel his pain at getting replaced. So your character’s unhealthy choice, Woody’s unhealthy choice, creates a crisis, Buzz getting pushed out the window, which leads to all the other toys confronting Woody and saying, “You can’t stay in Andy’s room until you go find Buzz and bring him back here safe and sound.” And that’s your first act break. You see a similar thing in “Finding Nemo” when Marlin finds Nemo at the edge of the open ocean. Marlin’s unhealthy choice, his overprotectiveness, comes out of his grand passion, his love for his son. And his unhealthy choice provokes a crisis: Nemo saying “I hate you,” swimming out to the boat to prove his independence, and then getting caught by the diver. And now Marlin has a goal that’s gonna take him all the way through the rest of the story. With “The Incredibles,” the responsible choice is for Bob to do what his wife tells him to do, “save the world one policy at a time,” but that would be boring, and you’d have no story. So, the irresponsible choice for Bob is to lie to his wife Helen and go moonlighting with his buddy Frozone. And we’re totally rooting for Bob to make the irresponsible choice, because we saw how much he loved being a superhero, we saw how good he was at it, and we saw how unfairly it was taken away from him. And that unhealthy choice — sneaking around — leads to a crisis — Mirage tracking him down — which leads to Symdrome bringing Bob on retirement and you’re off into your second act.
So, your story is coming out of your character’s deepest desires and their darkest fears. The thing they love gets taken away from them and the world is revealed to be unfair. To put things right, they have to make the journey that is the rest of the film. And by the end of the journey, hopefully they’ll not only get back what they lost, but they’ll be forced to fix that little flaw they had when we first met them. So, that’s what I learned at Pixar, and I’m not saying that all stories have to start this way, but if you’re writing a script and you’re having a hard time getting started, I hope these ideas are helpful.
This is an interesting insight. And it occurred to me you could apply this take to The Wizard of Oz. What’s Dorothy’s grand passion? Daydreaming about a better life ‘somewhere over the rainbow’. An orphan, she doesn’t feel like her home in Kansas is her home. When Miss Gulch takes away Toto, but the little dog scampers back home, Dorothy could take the high road: Do what is legal and return Toto to Miss Gulch. But, of course, she can’t do that, we all sympathize with her as she takes the low road: running away from home.
Once in Oz, her experiences there are in effect her grand passion — daydreaming about a better place — on steroids with several obstacles and tests along the way. By story’s end, she has overcome her “little flaw” by realizing: “There’s no place like home.”
I’m sure there are plenty of other movies where this approach works. However there are many movies where the setup is considerably different. Here’s how Joseph Campbell describes the beginning of The Hero’s Journey from the wonderful interview series he did with Bill Moyers, “The Power of Myth”:
The Hero is found in the ordinary world… In ancient myths it used to be the cottage or village… In films, it is usually the suburbs or common urban environment.
The Hero is making do, but feels something missing, a sense of discomfort or tension. The Hero needs to change, even if they are unaware of that need.
Oftentimes in a story’s beginning, the Protagonist is not doing what they love most. Indeed, Campbell asserts the whole point of the Hero’s Journey is about transformation and that change is generally about the Protagonist finding their Authentic Self. As Ovid says, “The seeds of change lie within.” The Protagonist may begin the story just “making do,” so they need to change, “even if they are unaware of that need.”
Consider this Protagonist:
Young Luke Skywalker, stuck on the edge of the galaxy, working on a moisture farm. At the beginning of the story, he is doing anything but engaged in his grand passion. But the seeds of change lie within: He has Jedi blood coursing through his veins. And by story’s end, he finds his grand passion as he becomes in effect a Jedi, aligning himself with The Force to destroy the Death Star.
The lesson Arndt gives is a fantastic one, not only in the substance of the content, but in demonstrating how a professional writer thinks about crafting a story, engaged in looking at structure and characters within that structure. But as Arndt himself observes, “I’m not saying that all stories have to start this way.” It’s a reminder that the best stories feel organic, they have a soul and a heart, a spontaneity and surprise to them.
As Arndt points out, we have certain things we need to accomplish in a script’s first 25 pages or so, it’s hard to break away from those requirements, and there are certain patterns and paradigms we see in this or that type of story. But as the three examples Arndt refers to from Pixar demonstrate, it’s not just about an approach to structure, it’s about creating characters who make sense, who have multiple layers to their psyches, who have feelings we can understand and identify with, and who we care about enough to join them on their adventure, whether they are participating in their grand passion at the beginning, disconnected from their True Self and due for a change, or anywhere in between.
Let’s carry this conversation to comments (click on Reply). What do you think of this approach to a story’s beginning?
Let’s face it: Rewriting is a bitch. Or a bastard. Pick your gender specific invective. Doesn’t matter. The process is a pain no matter how you shake your fist and swear at it.
One big issue I’ve found with writers caught up in the maelstrom of rewriting is that there is no one surefire path to success. This stands to reason. Stories are organic and so a certain amount of rewriting them involves wallowing in the wilderness. That’s just the nature of things.
However I have an approach which I honestly believe can move your process forward in a big way. It’s one I use in the Pages II: Rewriting Your Script workshop, a 10-week class that guides you through a rewrite.
In this workshop, you will not only drill down into your story and understand it more clearly, if you do the work, you will get from FADE IN to FADE OUT on your next draft, and move you script toward the point you can bring it to market.
Here is an overview of the approach employed in Pages II: Rewriting Your Script:
* The first four weeks, it’s about assessing your current draft, identifying problems as well as content that works, brainstorming solutions, then working up a revision outline.
* The next four weeks, it’s knocking out your draft in quarters: Week 5 – Act One. Week 6 – The first half of Act Two. Week 7 – The second half of Act Two. Week 8 – Act Three.
* The last two weeks: Polish and Edit.
There are 10 lectures that provide prompts and tips to steer you through the rewrite, weekly due dates to compel you to do the work, and a workshop environment in which you receive constructive critiques from your fellow writers along with detailed feedback from myself, a combination of written feedback and teleconferences.
What’s more, you learn tools you can use to incorporate into your rewrite process from here on out, making your experience less bitchy / bastardy.
Here is a testimonial from Russell Simpson, a writer who has gone through the Pages II experience:
“I asked friends, trawled the internet, read the blogs and still found myself a touch bewildered by all the self-aggrandizement and shady plaudits. Then I read the brilliant BlackList Blog. And I looked up the writer. And it’s Scott Myers…
Scott’s course is superb. Scott possesses an enviable combination of honesty, bravery and mercy. As long as you are prepared to work hard, this course WILL improve your craftsmanship. I fed a feature through Scott’s dynamo brain and, out the other end is a piece of which I’m intensely proud. If you’re hesitating, stop. You’ll be thankful.”
I do not subscribe to the belief there is one approach to writing… or rewriting. Every writer is different. Every story is different. But I do know this: The process we use in Pages II has helped many, many writers solve major story issues, discover important story keys, and enable them to take their script to the next level.
If you have a script that is a complete draft, but you know needs work…
Or a partially completed draft where you got stuck and couldn’t find your way out…
Or a story you’ve rewritten multiple times, yet feel it just doesn’t work…
I encourage you to consider joining me in my upcoming Rewriting Your Script workshop which begins Monday, April 14.